Buddy Holly - The NEW Complete Buddy Holly v. 2.0 (Purple Chick) (14 Disc Set + DVD)

Dag nabbit...

A couple of years ago, I posted what was known as the Holy Grail of Buddy Holly offerings, an eleven-disc set compiled by the elusive, reclusive Purple Chick collective purported to contain every known song, utterance and appearance on vinyl or film of the great rock 'n' roll pioneer Buddy Holly. I assumed, as did many of you, that this set was the be-all and end-all, the final definitive word on Holly's vocal and musical appearances, and I presented it as such, in a post laden with stylish poetic trappings and heartfelt tributes to the man and the mass of music he left behind...

Turns out, however, that the Complete Buddy Holly wasn't as complete as all of us thought it was.

Back in 2017, Purple Chick announced that they had put together an even MORE definitive Buddy Holly set, featuring songs that were inadvertently left out or otherwise unavailable for inclusion in the 2005 version. I didn't get wind of this new and improved set until last year... simply because I hadn't been looking for it, since I'd already assumed I had it all. I went ahead and acquired this new version, and started trying to document the changes between new and old for a possible later release on this blog. But honestly, my heart wasn't in it. It took me FOREVER to sort out the titles and tags on the previous set, and I just didn't have the stomach or wherewithal to go through the drudgery of putting together another writeup on this new set, and/or doing a disc-to-disc, track-by-track comparison of the former "Complete" Buddy Holly Purple Chick set and this replacement one. 

Fortunately, the people at Purple Chick saved me the trouble, and already put one together in a text file attached to this compilation. For the sake of my time and my sanity, I've taken the liberty of "appropriating" their narrative/description below:

The original Complete Buddy Holly remains one of our favorite projects. (Some Purple Chick restorations even made it - via Rev-Ola's "Gotta Roll" which added unnecessary processing - onto the wonderful-but-too-flawed Hip-O Select 'complete' collection).

Because a number of new and improved sources have appeared over the last fifteen years or so, we thought it was time for a Purpler Chick Completer Buddy Holly. We redid the whole set from scratch: almost everything has either been sonically improved from the earlier version or - most of the time - is from a different source entirely.

Even better, now that we have a complete* set of Buddy's undubbed recordings we can ignore the posthumous overdubs and present the absolute complete Buddy Holly on just five CDs.

So, if you want, you can completely forget the other discs, depending on how interested you are in their various themes. For example, you might not care about our (completely redone) selection of Buddy's record collection or the experimental stereo extractions and synchronizations. In particular, the "Peggy Sue Got Married" and "Crying, Waiting, Hoping" stereo tracks need more work but we wanted to get the set out before doomsday.

(*NOTE: we believe the so-called 'lesser dubbed' versions of "Wishing" and "Reminiscing" are actually undubbed versions. Even if that is not the case, any overdubs are so unobtrusive that it shouldn't prevent them from being the sole exclusions from the 'undubbed' section).

AND, here's the thing. Maybe you're not a CD person anymore. Maybe you just like the files. Well, they're all named so you can copy and paste into one folder and have them run chronologically, with session recordings and interviews all mixed with the studio sessions (you'll have to remove the 'i' prefix for the interviews. (You probably want to leave the 'BRC' and 'S' prefixes alone for Buddy's record collection and experimental stereo recordings.)

So here's what we have:

DISCS 1 - 5 - The Complete Buddy Holly

All of Buddy's studio recordings, live appearances, home recordings, and interviews.

Everything comes from the best available source; with many significant sonic upgrades including, for the first (*or second) time anywhere:

- Sonic improvements to the 'first four' recordings;
- An in-line "I Guess I Was Just A Fool" without the acetate skip;
- Un-composited alternate "Don't Come Back Knockin'" take fragments;
- The complete live Maybe Baby from Off The Record*;
- "Drown In My Own Tears" without the wow and flutter;
- A new, upgraded source for the KLLL promos; and
- Many more surprises...

DISC 6 - The Completer Buddy Holly

Outfakes, songwriting and a tribute

This disc collects the important outfakes (complete takes created from incomplete sources or edits patching audio errors); all of the songs Buddy co-wrote but never recorded; plus Buddy's friend Snuff Garrett's radio show from the day the music died.

DISCS 7 - 8 - Buddy For Others

All of the circulating sessions featuring Buddy as a session guitarist, vocalist and/or producer

Featuring numerous additional session recordings compared with our last set. It seems the only significant tracks now missing are Lloyd Call's "Little Cowboy" and Carolyn Hester's "A Little While Ago"

Caveat: some of the session appearances might not include Buddy after all. We excluded tracks that definitively did not include Buddy but otherwise took a 'when in doubt, leave them in' approach (while noting any questions about Buddy's contributions).

DISCS 9 - 10 - Dick Jacobs and Norman Petty overdubs and mixes

All of the posthumous releases from the 1950s, 1960s, and 1970s.

DISCS 11 - 12

The rest of the posthumous overdubs - from the 1980s right through the 2010s.
(You'll have to buy the recent Philharmonic Orchestra CD and slot in those tracks.)

DISCS 13 - 14

Buddy's record collection; and stereo Buddy.

The original versions of the songs Buddy recorded, plus a selection of Buddy's songs in synchronized stereo and/or digitally extracted stereo.

(Most of these are Purple Chick creations but some we grabbed from the Internet and, unfortunately, did not keep attribution notes at the time. Sorry!)

DVD

OK, this is just the old DVD. We couldn't face redoing it just for about a half-second of additional HighTime footage; and to change the mistaken "Clear Lake" caption. Then again, we improved the sound of some of the 'live' recordings on the CDs so maybe we should have fixed that on the DVD as well.

So, while I am leaving the old post from 2018 up (I hate taking posts down), I am retiring the request link for the music there (the 11-disc version) in favor of the one provided below (the 14-disc-plus set). I still have the old and now apparently obsolete 11-disc version; if you're still burning to have that one as well, let me know.  Just know that everything on that set is present here as well.

Once again, I proudly offer to you all Purple Chick's new and expanded The Complete Buddy Holly v. 2.0 from 2017, in the hope that this will be the final time they modify this huge collection. Take a look, have a listen, and as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Send Email

Buddy Holly - The Complete Buddy Holly (Purple Chick) (10-Disc Set + DVD)

Thoughts While Standing At Buddy Holly's Tomb

Only Buddy Holly's
dust rests here
with all his
youthful dreams
just some remnants
of the fifties
from a plane burst
at the seams.
Oh Lord, how that
aircraft tumbled
nose to tail,
and tail to nose,
how those boys
last prayer's were mumbled
then they screamed
at fate's cruel blows.
leaving broken bodies
scattered
all across the
once white snow,
east of nowhere long ago...

Buddy Holly would have turned eighty-two today.

Almost sixty years gone now... and Charles Hardin Holley's legacy and influence in rock - and in music as a whole - remains unassailable to this day. Every major artist that has since followed in his wake - The Rolling Stones, Bob Dylan, Eric Clapton, Elton John, Bruce Springsteen, The Clash, and of course The Beatles - and every major rock movement - the British Invasion, surf rock, the folk-rock explosion, punk, alternative - owes a large part of their very existence to this unassuming yet brilliant and driven young man from Lubbock, Texas.

I think of all the rock pioneers and icons who left this world well before their time (Bobby Fuller, Otis Redding, Jimi Hendrix, Janis Joplin, Kurt Cobain, Jeff Buckley, and many, many more (unfortunately)), Buddy Holly was the one with the most unrealized potential.  I mean, heck, just consider this: the guy went from relatively simplistic teenybopper stuff like "That'll Be The Day" and "Maybe Baby"... to complex, melodic and thoughtful songs like "Well... All Right" and "True Love Ways"... in little over two years of active recording. Personally, I find the rate and level of the evolution of his art and musical sophistication astonishing - rivaled only by that of The Beatles (admitted Holly disciples) during their seven years as recording artists. And yet there were four of them - while he sometimes worked with songwriting partners, Buddy was essentially a solo artist.

Holly had dreams and ambitions far beyond just being a rock singer. Many of the frustrations in his early career stemmed from his lack of creative control over his music (a circumstance that contributed to his break from his first band, The Crickets, in 1958). More and more, he began managing his own musical direction, taking tentative steps into Latin-influnced sounds ("Take Your Time") and easy listening ("True Love Ways", "Moondreams"). Holly also began producing music, arranging sessions for his Lubbock friend Waylon Jennings and for his young 'discovery' Lou Giordano.

And still, Buddy yearned to do more on the production side. Late in 1958, he'd purchased land back in Texas and had drawn up plans for his own recording studio, and had already signed on many of his musician friends as staff (it was rumored that, once he got back off the Winter Dance Party tour in early 1959, one of the first artists he planned on recording at his new facility would have been Ritchie Valens...). And his music ambitions kept on expanding. He dreamed of recording with R&B giant Ray Charles (even at one point going out to California to seek him out - unfortunately, Charles was away on tour; can you IMAGINE what that collaboration would have been like?) and gospel great Mahalia Jackson.

In short, as great as he was even in the late 1950s, Buddy Holly was nowhere near reaching the height of his powers. I sometimes think about what could have happened had he not boarded that Iowa plane in February 1959 - more spectacular songs from him; forays into folk and country; playing with Dylan; collaborating with The Stones; even producing The Beatles! I am convinced that Holly would have remained a force in music for decades to come, and if he was still alive today, he'd be celebrated as the singular "elder statesman of rock".

But alas, none of that was destined to be. What a loss to music, and to the world.

On that tragic day
the music died
when the world
forever was denied
what could have been,
great songs unwritten
such promise in
a blizzard smitten
time stole what still
can't be forgiven,
three stars who still
had so much living
all vanished when their
plane was stricken,
leaving flesh remains,
torn and frostbitten.

But what will truly
be their legacy,
lies in the songs
that musically
still have us
humming them daily,
when radio stations
dust off tracks
that hold the gold....
today's songs lack,
then sadly we'll
go drifting back
not to Buddy's tomb,
but to his tunes.

The compilation offered here, The Complete Buddy Holly, was assembled by the Purple Chick collective of music fans in 2005. Here's a concise description of this offering, taken from the online magazine Big O Worldwide:

...Its comprehensiveness [of this set] rivals the official MCA 6-LP box set, The Complete Buddy Holly, first released in 1981 and long out-of-print. The MCA set has never been issued on CD.

Like the official LP box set, Purple Chick cover the same ground but offer the extras of alternates, demos, home recordings, live performances and radio spots that MCA decided to overlook. In general, what you get are Holly’s Nashville sessions with his friend Bob Montgomery that later was posthumously released as Holly In The Hills [1965], the demos for Decca, the Clovis recordings, the first sessions with Norman Petty in 1957 and the sessions that resulted in the three albums released in his lifetime.

Holly’s final demos, often called the Apartment Tapes, are also here. These were first overdubbed by Norman Petty using a Texas band called The Fireballs when new Holly material was needed.

The extra mile Purple Chick have taken are to assemble sessions produced by Buddy Holly for his friends including Sonny Curtis, Waylon Jennings, Carolyn Hester and Harry Nilsson and also those on which he played in [Buddy For Others Pt 1 and 2]. There are also two CDs worth of songs from Holly’s record collection, we presume to give the listener an idea of what influenced Holly. There is also a disc of interviews with Buddy Holly that includes various newscasts about the plane crash.

And as an added bonus, there's an eleventh disc full of video recordings of and about Buddy Holly - basically every important existing video featuring him.

Here's the entire Purple Chick set lineup, noting songs and sources; I've included some notes from the original Purple Chick release (marked as such below):

Volume One

1: My Two Timin' Woman (Snow)

- c.1949: Home Recording, 3315, 36th Street, Lubbock, Texas; Buddy Holly: vocal, acoustic guitar

2: I 'll Just Pretend (Martin)
3: Take These Shackles From My Heart (King-Stewart)

- c. 1952: Home Recording, 3315, 36th Street, Lubbock, Texas; Bob Montgomery (poss. Jack Neal): lead vocal, guitar; Buddy Holly: second vocal, mandolin

4: Footprints In The Snow (Jones)

- c:1953: (Prob.) Home Recording, 3315, 36th Street, Lubbock, Texas; Bob Montgomery: lead vocal, guitar; Buddy Holly: vocal, guitar

5: Gotta Get You Near Me Blues+ (Montgomery)
6: Flower Of My Heart* (Montgomery-Guess)
7: Door To My Heart* (Montgomery)
8: I Gambled My Heart+ (Holly-Montgomery)
9: Soft Place In My Heart+ (Montgomery)
10: Gotta Get You Near Me Blues+ (Montgomery)

- c. late 1954/April 1955: Nesman Recording Studio - Wichita Falls, Texas; Bob Montgomery: lead vocal, acoustic guitar; Buddy Holly: duet vocal, electric lead guitar; Sonny Curtis: fiddle; Larry Welborn: bass on *; Don Guess: steel guitar on *, bass on +; 6-10: plus overdubs: 6 October, 1963 - The Fireballs: (George Tomsco: guitar, Stan Lark: bass; Keith McCormack: rhythm guitar; Lyn Bailey: bass; Doug Roberts: drums)

11: You And I Are Through* (Montgomery)
12: Memories (Montgomery)
13: You And I Are Through* (Montgomery)
14: Baby It's Love (Bob Montgomery-Ella Holley)
15: Memories (Montgomery)
16: Queen Of The Ballroom (Don Guess)

- August, 1955: KDAV Studio - Lubbock, Texas; Bob Montgomery: lead vocal, acoustic guitar; Buddy Holly: duet vocal, second lead guitar; Sonny Curtis: fiddle, lead guitar on *; Don Guess: bass; 13-16: plus overdubs: 26 June 1964 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark or Lyn Bailey: bass; Doug Roberts or Eric Budd: drums)

17: Baby Let's Play House (Gunter)
18: Down The Line (Holly-Montgomery)
19: Baby Let's Play House (Gunter)
20: Down The Line (Holly-Montgomery)

- Mid 1955: Nesman Recording Studio - Wichita Falls, Texas; Buddy Holly: lead vocal, acoustic guitar; Bob Montgomery: vocal and guitar on *; Sonny Curtis: lead guitar; Larry Welborn: bass; Jerry Allison: drums; 19-20: plus overdubs: June 1964 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)

21: Moonlight Baby (Holly) (aka Baby Won't You Come Out Tonight)
22:1 Guess I Was A Fool (Holly)
23: Don't Come Back Knockin' (Holly-Parrish)
24: Love Me (Holly-Parrish)

- 7 December, 1955: Nesman Recording Studio - Wichita Falls, Texas; Buddy Holly: vocal, guitar; Sonny Curtis: lead guitar; Don Guess: bass; Jerry Allison: drums (These acetates were sent to Decca in response to a telegram from Eddie Crandall to Dave Stone)

25: Love Me (Holly-Parrish) (Take 10)
26: Don't Come Back Knockin' (Holly-Parrish)
27: Midnight Shift (Lee-Ainsworth)
28: Blue Days, Black Nights (Hall)

- 26 January, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal; Sonny Curtis: lead guitar; Grady Martin: rhythm guitar; Don Guess: bass; Doug Kirkham: percussion

29: Baby Won't You Come Out Tonight+ (Holly)
30: I Guess I Was Just A Fool+ ~Holly)
31: It's Not My Fault (Hall-Myrick)
32: I'm Gonna Set My Foot Down*+ (Holly)
33: Changin' All Those Changes*+ (Holly)
34: Rock-A-Bye Rock+ (Holly)
35: Because I Love You+ (Holly)

- February-April, 1956: Norman Petty Studios - 1313 West 7th Street Clovis, New Mexico; Buddy Holly: vocal, guitar; Sonny Curtis: guitar, lead guitar on *; Don Guess: bass; Jerry Allison: drums on +

Volume Two

1: Baby Won't You Come Out Tonight (Holly)
2: Because I Love You (Holly)
3: Changin' All Those Changes (Holly)
4: I 'm Gonna Set My Foot Down (Holly)
5: It's Not My Fault (Hall-Myrick)
6: Rock-A-Bye Rock (Holly)

- Feb-Apr 1956 session from disc 1 plus overdubs: 14 November 1962 - The Fireballs: (George Tomsco: guitar; Keith McCormack: guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)

7: Rock Around With Ollie Vee (Curtis) (fragment)
8: Rock Around With Ollie Vee (Curtis) (take 8)
9: I'm Changin' All Those Changes* (Holly) (take 3 fragment)
10: I'm Changin' All Those Changes* (Holly) (take 4)
11: That'll Be The Day (Alllson-Holly-Petty) (take 19)
12: Girl On My Mind (Guess) (take 3)
13: Ting-A-Ling (Nugetre) (take 7)

- 22 July, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal, guitar; Sonny Curtis: guitar, lead on *; Don Guess: bass; Jerry Allison: drums

14: Rock Around With Ollie Vee (Curtis) (take 12)
15: Modern Don Juan (Guess-Neil) (take 76 [sic])
16: You're My One Desire (Guess) (false start)
17: You're My One Desire (Guess) (take 2)

- 15 Nov, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal; Harold Bradley: guitar; Grady Martin: guitar; Don Guess: bass; Floyd Cramer: piano; Farris Coursey: drums; E.R. "Dutch" McMillin: saxophone

18: Gone (Rogers) (version one)
19: Gone (Rogers) (version two)
20: Gone (Rogers) (version three)
21: Have You Ever Been Lonely (De Rose-Brown) (version one)
22: Have You Ever Been Lonely (De Rose-Brown) (version two)
23: Have You Ever Been Lonely (De Rose Brown) (version three)
24: Have You Ever Been Lonely (De Rose-Brown) (version four)
25: Brown-Eyed Handsome Man (Berry)
26: Good Rockin' Tonight (Brown)
27: Rip It Up (Marascalco-Blackwell)
28: Blue Monday (Bartholomew-Domino)
29: Honky Tonk (Doggett-Shepard-Butler-Scott)
30: Blue Suede Shoes (Perkins)
31: Shake, Rattle and Roll (Calhoun)
32: Bo Diddley (McDaniel)
33: Ain't Got No Home (Henry)
34: Holly Hop (Holley)
35: Gone (Rogers) (version three)
36: Rip It Up (Marascalco-Blackwell)
37: Honky Tonk (Doggett-Shepard-Butler-Scott)
38: Blue Suede Shoes (Perkins)
39: Shake, Rattle and Roll (Calhoun)
40: Have You Ever Been Lonely (De Rose-Brown) (version one)
41: Good Rockin' Tonight (Brown)
42: Blue Monday (Bartholomew-Domino)
43: Ain't Got No Home (Henry)
44: Holly Hop (Holley)

- November-December, 1956: (Poss.) Home Recording - 1926, 19th Street, Lubbock, Texas; Buddy Holly: vocal, guitar; Jerry Allison: drums and vocals; (Poss.) Don Guess: bass; 35-39: plus overdubs: 10/11 October, 1963 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Vi Petty: piano; 40-44: plus overdubs: 22 August, 1968 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Lyn Bailey or Stan Lark: bass; Doug Roberts: drums)

Original Purple Chick notes:  "Space here to tell you a little about this collection. Over a year in the making, we snagged everything we could find from numerous sources, including What You Been A Missin' and The Music Never Died. One thing we didn't include was any of the "Picks" vocal overdubs from the 1980s, frankly because we think they suck. You can find them on all manner of budget CDs. But you really don't want to. Tracks making their CD debut include the 7" versions of "Wait Til The Sun Shines Nellie", "Look At Me" and "Mailman...", and the 50s and 60s stereo mixes on Disc Nine.

As well as our new, previously unavailable stereo mixes, we managed to dig out one or two exclusives: "Take These Shackles..." on disc one is not only upgraded in sound, but appears without skips for the first time! Also making their bootleg debut (we think) are the BBC "Maybe Baby" and Florida "That'll Be The Day" fragments and the first version of "That's What They Say". We're not sure whether the Hightime fragment is lip-synched or sung live to the record, but it debuts here all the same.

We did minimal work on the source material if it warranted it - mostly de-clicking and speed-correction. Also, we fixed the tape glitch on the Palladium "Oh Boy" and combined two different sources of "My Two-Timin Woman" to get the longest version in best quality. When speed-corrected the Vigotone "Last Night" and "Send Me Some Lovin'" turn out not to be alternate takes, just undubbed."

Volume Three

1: Brown-Eyed Handsome Man (Berry)
2: Bo Diddley (McDaniel)
3: Brown-Eyed Handsome Man (Berry)
4: Bo Diddley (McDaniel)

- December 1956-January 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Larry Welborn: bass; Jerry Allison: drums; unknown: guitar; 3-4: plus overdubs: 22 August, 1968 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)

5: I'm Looking For Someone To Love (Holly-Petty)
6: That'll Be The Day (Allison-Holly-Petty)

- 25 February, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Larry Welborn: bass; Jerry Allison: drums; Niki Sullivan, Gary Tollett and Ramona Tollett: backing vocals

7: Last Night (Petty-Mauldin)
8: Maybe Baby* (Holly-Petty)
9: Words Of Love (Holly)
10: Last Night+ (Petty-Mauldin)
11: Maybe Baby* (Holly-Petty)

- 12 March, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico;Buddy Holly: vocal, guitar, Joe B. Mauldin: bass; Jerry Allison: drums; Niki Sullivan: second vocal*; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57); 11: plus overdubs: 15 March, 1966 - The Fireballs: (see above - Doug Roberts: drums)

12 Words Of Love* (Holly)
13: Mailman Bring Me No More Blues+ (Roberts-Katz-Clayton)
14: Mailman Bring Me No More Blues+ ((Roberts-Katz-Clayton)

- 8 April, 1957 Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal (double-tracked on *), guitar (double-tracked on *); Jerry Allison: drums; Joe B. Mauldin: bass; Vi Petty: piano on +; 14: plus echo overdub for 7": October 1961: Decca Record Co., Ltd., 254 Belsize Road, London, England

15: Not Fade Away (Hardin-Petty) (incomplete alternate)
16: Not Fade Away+ (Hardin-Petty)
17: Everyday* (Hardin-Petty)

- 29 May, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Jerry Allison: cardboard-box (knee slapping on *); (Prob.) Joe B. Mauldin: bass; Vi Petty: celeste on *; Buddy Holly, Jerry Allison, Niki Sullivan: overdubbed vocals on +

18: Ready Teddy* (Blackwell-Marascalco)
19: Valley Of Tears# (Domino-Bartolomew)
20: Tell Me How+ (Hardin-Allison-Petty)

- May-July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Niki Sullivan: guitar on * and +; Joe B. Mauldin: bass; Jerry Allison: drums; Vi Petty: piano on * and #; Norman Petty: organ on #; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)

21: Peggy Sue (Holly-Allison-Petty) (alternate)
22: Peggy Sue (Holly-Allison-Petty)
23: Listen To Me* (Hardin-Petty)
24: That'll Be The Day - for Bob Thiele (Holly-Allison)
25: That'll Be The Day - for Murray Deutch (Holly-Allison)
26: That'll Be The Day - for Bill Randall (Holly-Allison)
27: Oh Boy (West-Tilghman-Petty)
28: Oh Boy+ (West-Tilghman-Petty)

- 30 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar (double-tracked v & g on *), Joe B. Mauldin: bass; Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 19 August '57)

29: I'm Gonna Love You Too (Mauldin-Petty-Sullivan)

- 1 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: double-tracked vocal, guitar; Joe B. Mauldin bass; Jerry Allison: drums; Cricket: chirp

30: Send Me Some Loving (Marascalco-Price)
31: It's Too Late (Willis)
32: Send Me Some Loving+ (Marascalco-Price)
33: It's Too Late+ (Willis)

- 20 July, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)

34: Am Empty Cup+ (Petty-Orbison)
35: Rock Me My Baby+ (Long-Heather)
36: You've Got Love+ (Wilson-Orbison-Petty)
37: Maybe Baby+ (Holly-Petty)

- 28-29 September, 1957: The Officers Club Lounge - Tinker U.S. Air Force Base, Oklahoma City, OK; Buddy Holly: vocal, guitar, Niki Sullivan: guitar, Joe B. Mauldin: bass, Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)

38: That'll Be The Day (Holly-Allison-Petty) (fragment)

- 22 October, 1957: KPTV Hightime, Portland Oregon; Buddy Holly: mimed (double-tracked?) vocal; Joe B. Mauldin and Jerry Allison: mimed vocal

39: That'll Be The Day (Holly-Allison-Petty)
40: Peggy Sue (Holly-Allison-Petty)
41: Interview with Ed Sullivan

- 1 December, 1957: Ed Sullivan Show, CBS Television Studios, New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; Niki Sullivan: guitar

Volume Four

1: Little Baby (Holly-Petty-Kendall)
2: (You're So Square) Baby I Don't Care (Leiber-Stoller)
3: Look At Me (Holly-Petty-Allison)
4: Look At Me (Holly-Petty-Allison)

- 7 December, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin; bass, Jerry Allison: drums; C.W. Kendall Jr.: piano; 4: plus echo overdub for 7: October 1961: Decca Record Co. Ltd. 254 Belsize Road London England

5: Mona (McDaniel) (warm up)
6: Mona (McDaniel) (take one)
7. Mona (McDaniel) (take two)
8: Mona (McDaniel) (take three)

- December, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Jerry Allison: drums; guitar at beginning

9: Peggy Sue (Holly-Allison-Petty)

- 29 December, 1957: Arthur Murray Dance Party, TV Show - New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums

10: Rave On (West-Tilghman-Petty) (take 3)
11: That's My Desire (Kresa-Loveday) (rehearsal)
12: That's My Desire (Kresa-l.oveday) (take I - false start)
13: That's My Desire (Kresa-Loveday) (take 2 breakdown)
14: That's My Desire (Kresa-l.oveday) (take 3)
15: That s My Desire+ (Kresa-Loveday) (take 3)

- 25 January, 1958: Bell Sound Studios - 237 W. 54th Street, New York City, New York; Buddy Holly: vocal; Joe B. Mauldin: bass; Jerry Allison: drums; Norman Petty: piano; Al Caiola: lead guitar; Donald Arnone: rhythm guitar; The Jivetones: (William Marine, Robert Bollinger, Robert Harter, Abby Hoffer, Merrill Ostaus): backing vocals; 15: plus overdubs: 15 March 1966 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums)

16: Oh Boy (West-Tilghman-Petty)

- 26 January, 1958: Ed Sullivan Show, CBS Television Studios, New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums

17: Well... All Right (Holly-Allison-Petty-Mauldin)

- 12 February, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: cymbals

18: Take Your Time* (Holly-Petty) (take I breakdown)
19: Take Your Time* (Holly-Petty) (take 2 - breakdown)
20: Take Your Time* (Holly-Peity) (take 3)
21: Take Your Time* (Holly-Pelty) (take 4)
22: Fool's Paradise (Leglaire-Petty-l.insley) (take 1)
23: Fool's Paradise (Leglaire-Petty-Linsley) (take 2)
24: Fool's Paradise (I.eglaire-Petty-Linsley) (take 3)
25: Think It Over (Holly-Petty-Allison) (take 1 - false start)
26: Think It Over (Holly-Petty-Allison) (take 2 - false start)
27: Think It Over (Holly-Petty-Allison) (take 3)
28: Think It Over (Holly-Petty-Allison) (take 4)
29: Think It Over (Holly-Petty-Allison) (take 5)
30: Fool's Paradise+ (Leglaire-Petty-Linsley) (take 3)
31: Think It Over+ (Holly-Petty- Allison) (take 5)

- 14 February, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums, cardboard-box on *; Norman Petty: organ on *- plus The Roses (Robert Linville, Ray Rush, David Bigham) backing vocals on +; Vi Petty: piano on + (overdubbed: 19 February, 1958)

32: That'll Be The Day* (Allison-Holly-Petty) (fragment)
33: Everyday* (Hardin-Petty) (fragment)
34: Drown In My Own Tears+ (fragment)
35: Hallelujah, I Love Her So + (Charles) (Glover) (fragment)

- 24 February, 1958: "Big Gold Record Stars Show" - Dade County Auditorium, Miami, Florida; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass on *; Jerry Allison: drums on *; Jerry Lee Lewis: piano and vocal on +

36: That'll Be The Day (Allison-Holly-Petty)
37: Peggy Sue (Holly-Allison-Petty)
38: Oh Boy (West-Tilghman-Petty)

- 2 March, 1958: The London Palladium - Argyle Street, London, England; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums

39: Maybe Baby (Holly-Petty) (fragment)

- 14 March,1958: BBC Television studios - Lime Grove, London, England; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums

40: Heartbeat* (Montgomery-Petty)
41: Lonesome Tears+ (Holly)
42: It's So Easy+ (Holly-Petty)

- 25 May, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Tommy Allsup: lead guitar; Joe B. Mauldin: bass on +; Jerry Allison: drums on +; George Atwood: bass on *; plus The Roses (Robert Linville, Ray Rush, David Bigham): backing vocals on + (overdubbed: 27 May, 1958)

43: Love's Made A Fool Of You (Holly-Montgomery)
44: Wishing (Holly-Montgomery)
45: Love's Made A Fool Of You+ (Holly-Montgomery)
46: Wishing ++ (Holly-Montgomery)

- 2 June, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: double-tracked vocal, guitar; Tommy Allsup: lead guitar; George Atwood: bass; Bo Clarke: drums - 45-46: plus overdubs: January 7, 1964 - handclaps on +; 1963 guitar overdubs on ++

Volume Five

1: Early In The Morning (Darin-Harris)
2: Now We're One (Darin) (fragment)
3: Now We're One (Darin)

- 19 June, 1958: Coral Records Studios - The Pythian Temple, 80th Street, New York City, New York; Buddy Holly: vocal; George Barnes: lead guitar; Al Chernet: acoustic guitar; Sanford Bloch: bass; Ernest Hayes: piano; David "Panama" Francis: drums; Philip Kraus: drums; Sam Taylor: alto saxophone; Helen Way Singers: (Helen Way, Harriett Young, Maeretha Stewart, Theresa Merritt): backing vocals

4: Everyday KLLL Jingle (Holly)
5: Peggy Sue KLLL Jingle (Holly-Alllson)

- 1 September, 1958: Radio KLLL - Lubbock, Texas; Buddy Holly: vocal, guitar

6: Come Back Baby (Petty-Nell)
7: Reminiscing (Curtis) (Buddy wrote this, but gave King Curtis the credit for flying down to the session)
8: Reminiscing + (Curtis)

- 10 September, 19S8: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; Curtis "King Curtis" Ousley: saxophone; 8: plus overdubs: 14 November, 1962 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Eric Budd: drums)

9: True Love Ways (Holly-Petty) (stereo)
10: It Doesn't Matter Anymore (Anka) (stereo)
11: Raining In My Heart (B & F Bryant) (stereo)
12: Moondreams (Petty) (stereo)
13: True Love Ways (Holly-Petty) (mono)
14: It Doesn't Matter Anymore (Anka) (mono)
15: Raining In My Heart (B & F Bryant) (mono)
16: Moondreams (Petty) (mono)

- 21 October, 1958: Coral Records Studios - Pythian Temple, 80th Street, New York City, New York; Buddy Holly: vocal; Al Caiola: acoustic guitar; Sanford Bloch: bass; Ernest Hayes: piano; Doris Johnson: harp; Clifford Leeman: drums; Abraham Richman: tenor saxophone; Sylvan Shulman, Leo Kruczek, Leonard Posner, Irving Spice, Ray Free, Herbert Bourne, Julius Held, Paul Winter: violin, David Schwartz Howard Kay: viola, Maurice Brown, Maurice Bialkin: cello; 9-12 Mixed for stereo 1979. Alternate stereo mixes of 9, 10 and 11 from 1959 and 1967 on Disc Nine.

17: That's What They Say (Holly) (version I - incomplete)
18: That's What They Say (Holly) (version 2)
19: What To Do (Holly)
20: Peggy Sue Got Married (Holly)
21: That Makes It Tough (Holly)
22: Crying, Waiting, Hoping (Holly)
23: Learning The Game (Holly)

- 3 December, 1958 (17-19); S December, 1958 (20); 8 December, 1958 (21); 14 December, 1958; (22); 17 December, 1958 (23): Apartment 4-H, The Brevoort, 8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar

24: You're The One (Holly-Jennings-Corbin)

- 27 December, 19S8: Radio KLLL. - Lubbock, Texas; Buddy Holly: vocal, guitar; Waylon Jennings: handclapping; Ray "Slim" Corbin: handclapping

25: Wait 'Til The Sun Shines Nellie* (Sterling-Von Tilzer)
26: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (Slow version # 1)
27: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (slow version # 3)
28: Slippin' And Slidin' (Penniman-Bocage-Collins-Snulh) (slow version # 2)
29: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (fast version)
30: Drown In My Own Tears (Glover) (fragment)
31: Maria Elena
32: Dearest (McDaniel-Polk-Baker) (version 1 - incomplete)
33: Dearest (McDaniel-Polk-Baker) (version 2)
34: Love Is Strange (Smith-Baker)
35: Smokey Joe's Cafe (Leiber-Stoller)
36: Smokey Joe's Cafe (Leiber-Stoller) (unedited)
37: Buddy's Guitar (Holly) (aka I Know I'll Have The Blues Again aka Leave My Woman Alone)

- 1-20 January, 1959: Apartment 4-H, The Brevoort,8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar, electric guitar on *

38: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (sped-up version # 1)
39: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (sped-up version # 3)
40: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (sped-up version # 2)

- 1-20 January, 1959: Apartment 4-H, The Brevoort, 8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar, electric guitar on * [Buddy deliberately recorded these songs at a slow tempo, with the tape running at half-speed (71/2 i.p.s. versus 15 i.p.s.) so they would sound like The Chipmunks when played back!]

Volume Six

1: Peggy Sue Got Married (Holly)
2: Crying, Waiting, Hoping (Holly)

- overdubbed 30 June, 1959: Coral Records Studio A, New York City, New York; Andrew Ackers: piano; David 'Panama' Francis: drums; Sandford Block: bass; The Ray Charles Singers: backing vocals; C. John "Jack" Hansen: producer

3: That's What They Say (Holly) (take 2)
4: What To Do (Holly)
5: Learning The Game (Holly)
6: That Makes It Tough (Holly)

- overdubbed 1 January, 1960: Coral Records Studlo A, New York City, New York; Andrew Ackers: piano; David 'Panama' Francis: drums; Sandford Block: bass; The Ray Charles Singers: backing vocals; C tohn "Jack" Hansen: producer; Mixed for stereo in 1979. Alternate stereo mixes of 4 and 5 from 1967 are on Disc Nine of this set.

7: What To Do (Holly)
8: Peggy Sue Got Married (Holly)
9: Crying, Waiting, Hoping (Holly)
10: That Makes It Tough (Holly)
11: That's What They Say (Holly) (version 2)
12: Learning The Game (Holly)

- overdubbed June 1962-December 1963: Norman Petty Studios - 1313 West 7th Street, Clovis, NM; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); Norman Petty: producer

13: You're The One (Holly-Jennings-Corbin)

- overdubbed June 1962-December 1963: Norman Petty Studios - 1313 West 7th Street, Clovis, NM; The Fireballs: (George Tomsco: guitar; Jimmy Glimer: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Norman Petty: Onedeoline, Producer

14: Umm, Oh Yeah (Dearest) (McDaniel-Polk-Baker) (version 2)
15: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (slow version #2)

- overdubbed 1962-1963: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); Norman Petty: producer

16: Wait 'Til The Sun Shines Nellie (Sterling-Von Tilzer) (single version)
17: Wait 'Til The Sun Shines Nellie (Sterling-Von Tilzer) (album version with additional overdubbing)

- overdubbed 29 October 1962: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); poss. Vi Petty, George Tomsco, Homer Tankersley: backing vocals; Norman Petty: producer

18: Love Is Strange+ (Smith-Baker)
19: Slippin ' And Slidin ' (Penniman-Bocage-Collins-Smith) (fast version)
20: Dearest* (McDaniel-Polk-Baker) (version 2)
21: Smokey Joe's Cafe* (Leiber-Stoller)

- overdubbed 1968: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Norman Petty: Onedeoline on +; poss. Vi Petty, Barbara Tomsco, George Tomsco, Homer Tankersley: backing vocals on *; Norman Petty: producer

22: Peggy Sue Got Married (Holly)

- overdubbed 1995, Abbey Road Studios, London, England; The Hollies: (Allan Clarke, Graham Nash, Tony Hicks: vocals; Tony Hicks: rhythm and lead guitar; Bobby Elliott: drums; Ian Parker: keyboards; Ray Stiles: bass; Alan Coates: percusslon)

23: Got To Get You Near Me Blues (Montgomery)
24: Memories (Montgomery)
25: Baby Let's Play House (Gunter)
26: Last Night (Petty-Mauldin)
27: Oh Boy (West-Tilghman-Petty)
28: Send Me Some Loving (Marascalco-Price)
29: It's Too Late (Willis)
30: That's My Desire (Kresa-Loveday)
31: Fool's Paradise (Leglaire-Petty-Linsley)
32: Think It Over (Holly-Petty-Allison)
33: Love's Made A Fool Of You (Holly-Montgomery)
34: Wishing (Holly-Montgomery)

- True stereo versions - For The First Time Anywhere!!  Created by Purple Chick synchronizing the dubbed and undubbed versions that appear earlier on this set.(Undubbed versions are panned mostly left, the dubbed versions mostly right.)

Volume Seven

1: I Saw The Moon Cry Last Night (Neal) - Jack Neal
2: I Hear The Lord Callin' For Me (Neal) - Jack Neal

- c. 10 November 1953: Radio KDAV - 6602 Quirt Avenue, Lubbock, Texas; Jack Neal: vocal, guitar; Buddy Holly: guitar

3: All From Loving You* Hall) - Ben Hall
4: Rose Of Monterey+ (Hall) - Ben Hall

- c. 1955: Radio KSEL, Lubbock, Texas(*); Radio KDAV - 6602 Quirt Avenue, Lubbock, Texas(+); Ben Hall: vocal; Buddy: guitar; Sonny Curtis: fiddle; Weldon Myrick: steel guitar; Dena Hall: bass

5: Because You Love Me (Curtis) - Sonny Curtis
6: I'll Miss My Heart (Inman) - Sonny Curtis
7: Queen Of The Ballroom (Guess) - Sonny Curtis
8: This Bottle (Curtis) - Sonny Curtis
9: Dallas Boogie (Curtis) - Sonny Curtis
10: One In A Million (Curtis) - Sonny Curtis

- 7 June 1955: (Prob.) Nesman Recording Studio - Wichita Falls, Texas; Sonny Curtis: vocal; Buddy Holly: guitar; Larry Welborn: bass; Jerry Allison: drums

1l: Go Boy Go* (Wilson) - Gary Dale
12: Gone* (Rogers) - Gary Dale
13: Go Boy Go+ (Wilson) - Gary Dale
14: Gone+ (Rogers) - Gary Dale
15: The Golden Rocket+ (Snow) - Gary Dale
16: 1 Overlooked An Orchid+ (Story-Smith-Lyn) - Gary Dale

- 21 February, 1957: Radio KDAV - Lubbock Texas (*); 1 March, 1957: Norman Petty Studios -13i3 West 7th Street, Clovis, New Mexico (+); Gary Dale Tollett: vocal; Buddy Holly: guitar; 3erry Allison: drums; Ramona Tollett, June Clark, Niki Sullivan: backing vocals

17: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take I ) - Jim Robinson
18: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take 2) - Jim Robinson
19: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take 3) - Jim Robinson
20: A Whole Lot Of Lovin'+ (Huddle-Petty-Robinson) (take 3) - Jim Robinson
21: It's A Wonderful Feeling* (Huddle-Petty-Robinson) - Jim Robinson

- 28 April, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jim Robinson: vocal; Buddy Holly: guitar; Jerry Allison: cardboard-box percussion, drums on *; Vi Petty: piano on *; (Poss.) Joe B. Mauldin: bass; The Bowman Brothers: backing vocals on *, plus The Roses (Robert Linville, Ray Rush, David Bigham) backing vocals on + (dubbing date unknown)

22 Starlight (Huddle-Petty-Robinson) - Jack Huddle
23: Believe Me* (Petty-Robinson) - Jack Huddle

- 28 April, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jack Huddle: vocal; Buddy Holly: lead guitar; Jerry Allison: drums; (Poss.) Joe B. Mauldin: bass; The Bowman Brothers: backing vocal on *; Vi Petty: piano on *

24: By The Mission Wall (Cline) - Fred Crawford

- April-June, 1957 (or 14 July, 1957): Norman Petty Studios - 1313 West 7th Street, Clovis, NM; Fred Crawford: vocal; Buddy Holly: guitar; 3erry Allison: drums; (Poss.) Joe B. Mauldin- bass; (Poss.) Norman Petty: organ; (Poss.) The Bowman Brothers: backing vocals

25: A Man From Texas (Russell-Petty-Dougherty)- Jim Robinson

- 24 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jim Robinson: vocal; Buddy Holly: guitar; (Poss.) George Atwood: bass; Unknown: drums; Vi Petty: piano; The Picks: backing vocals (overdubbed mid-August, 1957)

26: Broken Promises (Davis) - Sherry Davis
27: Humble Heart* (Davis) - Sherry Davis

- prob. 12 July, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Sherry Davis: vocal; Buddy Holly: lead guitar; Jack Vaughn: rhythm guitar; Jerry Allison: drums; Unknown: bass; The Picks: backing vocals; Gene Medley: backing vocals on *

28: Look To The Future* (Petty-Sullivan) - Gary Dale
29: Honey Honey (Tollett) - Gary Dale

- 14 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Gary Dale Tollett: vocal, guitar on *; Buddy Holly: guitar; 3erry Allison: drums; (Poss.) Joe B. Mauldin: bass; Ramona Tollett: backing vocal; The Picks: backing vocals (overdubbed mid-Aug.1957)

30: Sugartime (Phillips-Echols) (version 1) - Charlie Phillips
31: Sugartime (Phillips-Echols) (version 2) - Charlie Phillips
32: One Faded Rose* (Echols-Baggett-Phillips) (version 1) - Charlie Phillips
33: One Faded Rose* (Echols-Baggett-Phillips) (version 2) - Charlie Phillips

- July 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Charlie Phillips: vocal; Buddy Holly: lead guitar, harmony vocal on *; Jack Vaughn: acoustic guitar; Jerry Allison: drums; Jimmy Blakely: steel guitar; George Atwood: bass

More original Purple Chick notes:  "Discs Seven and Eight compile all circulating sessions featuring Buddy as a side musician and/or producer, plus songs Buddy wrote that he never recorded, with others finishing the compositions posthumously. Others exist, and may yet escape ( "I Sent You Roses" by Jerry Engler is due to be released later in 2005).

Some tracks, which erroneously appeared on previous compilations, have been excluded:

• Buddy shared a session with Billly Walker on 12 March, 1957, but does not feature on Billy's recordings.
• "When Sin Stops" by The Nighthawks (Hamilton 50006), on the Vigotone set does not feature Buddy.
• Similarly, "Oh Boy!" on the Vigotone Set is by Billy And The Glens (Jaro 77006), not Sonny West.
• The contemptible "Ni**er Hatin' Me" was recorded in the late 60s(!) by Johnny Rebel (C. J. Trahan)."

Volume Eight

1: Moondreams (Petty) (album version) - The Norman Petty Trio
2: Moondreams* (Petty) (single version) - The Norman Petty Trio
3: Moondreams+ (Petty) (alternate version) - The Norman Petty Trio

- 20-22 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: acoustic guitar; Norman Petty: organ; Vi Petty: piano; Mike Mitchell: percussion; Unknown: bass; The Picks: overdubbed vocals on *; The Roses: overdubbed vocals on + (1 and 2 are the same version, but 3 is a different recording/take entirely.)

4: Don't Do Me This Way (Tucker) - Rick Tucker
5: Patty Baby (Baker-Tucker) - Rick Tucker

- 25 August, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Rick Tucker: vocal, poss. guitar; Buddy Holly: lead guitar or (Poss.) Roy Orbison: lead guitar; (Poss.) Bo Clarke: drums; (Poss.) Don Guess: bass; Bill Pickering and Bob Lapham: backing vocal

6: Don't Do Me This Way (Tucker) Rick Tucker

- 12 September, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Rick Tucker: vocal; Buddy Holly: acoustic guitar or (Poss.) Rick Tucker: acoustic guitar; Vi Petty: piano; (Poss.) Bo Clarke: drums; (Poss.) Don Guess: bass; The Picks: backing vocals

7: Real Wild Child (O'Keefe-Greenan-Owens) (take 1)- Ivan
8: Real Wild Child* (O'Keefe-Greenan-Owens) (take 2) - Ivan
9: Oh, You Beautiful Doll (Brown-Ayer) (take 1) - Ivan
10: Oh, You Beautiful Doll (Brown-Ayer) (take 2) - Ivan
11: Oh, You Beautiful Doll+ (Brown-Ayer) (take 2) - Ivan

- 19 February, 1958: Norman Petty Studios - i313 West 7th Street, Clovis New Mexico; Jerry "Ivan" Allison: vocal, overdubbed drumsticks on +; Buddy Holly: guitar, overdubbed lead guitar, backing vocal on *, Joe B. Mauldin: bass, backing vocal on *; Bo Clarke: drums, backing vocal on *; Norman Petty: overdubbed water-filled wine glasses on +

12: Scarlet Ribbons (Siegal-Danzig) - Carolyn Hester
13: Wreck Of The Old '97* (traditional) - Carolyn Hester

- 1958: Norman Petty Studio - 1313 West 7th Street, Clovis, New Mexico; Carolyn Hester: vocal; Buddy Holly: guitar; George Atwood: bass (*); Jerry Allison: percussion (*)

14: What A' You Gonna Do (Engler) - Jerry Engler

- 7 September, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jerry Engler: vocal; Buddy Holly: guitar, bells; George Atwood: bass; Bo Clarke: drums

15: When Sin Stops (Venable) (take I - instrumental) - Waylon Jennings
16: When Sin Stops (Venable) (take 2 - instrumental) - Waylon Jennings
17: When Sin Stops (Venable) (take 3 - instrumental) - Waylon Jennings
18: When Sin Stops (Venable) (take 4 - vocal) - Waylon Jennings
19: When Sin Stops (Venable) (take 5 - vocal) - Waylon Jennings
20: When Sin Stops (Venable) (take 6 - vocal) - Waylon Jennings
21: When Sin Stops+ (Venable) (take 2) - Waylon Jennings
22: Jole Blon (Choates-York) - Waylon Jennings

- 10 September, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Waylon Jennings: vocal; Buddy Holly: guitar; George Atwood: bass; Bo Clarke: drums; Curtis "King Curtis" Ousley: tenor saxophone; The Roses backing vocals overdubbed on +

23: Stay Close To Me (Holly) (false start) - Lou Giordano
24: Stay Close To Me (Holly) (take 4) - Lou Giordano
25: Don't Cha Know* (Everly) - Lou Giordano

- 30 September, 1958: Beltone Recording Studio, New York City, New York; Lou Giordano: vocal; Buddy Holly: guitar; Phil Everly: guitar; Unknown: bass guitar; Unknown: drums; Buddy Holly, Joey Villa, Phil Everly: falsetto vocals on *

26: More And More (Jennings) - Waylon Jennings
27: When You Are Lonely (Jennings) - Waylon Jennings

- 27 December, 1958: Radio KLLL. - Lubbock, Texas; Waylon Jennings: vocal; Buddy Holly: guitar

28: My Best Friend (My Baby's Coming Home) (Holly-Turner-Nilsson)
29: My Baby's Coming Home (Holly-Turner-Nilsson)

- May, 1962: American Studios, Hollywood, California; Harry Nilsson: vocal; Scotty Turner: guitar, production; 29: plus overdubs: 1994 Nashville Tennessee - Michael Blaustone: drums; Steve Bryant: guitar; James A. Wilson: bass; Troy Lancaster: guitar; Scotty Turner: guitar; Woody Wright: guitar

30: I Know I'll Have The Blues Again (Holly-Mackey) - Whitesidewalls

- c. 1980: Cookhouse Recording Studios - 2541 Nicollet Avenue, Minneapolis, Minnesota; Pat Brown: guitar, drums, vocal; Karl Ausland: guitar, vocal; Dan Melford: bass, vocal; Jeff Schmahl, guitar, keyboards, vocal; Dave Swanson: sax, vocal; Dale Menten: piano

31: Monetta (Holly-Curtis) - Sonny Curtis

- September, 1990: BBC Radio Merseyside, Liverpool, England; Sonny Curtis: guitar, vocal

32: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) - Jim Robinson
33: Moondreams (Petty) - The Norman Petty Trio
34: Moondreams (Petty) - The Norman Petty Trio
35: Oh, You Beautiful Doll (Brown-Ayer) - Ivan
36: When Sin Stops (Venable) (take 2) - Waylon Jennings

- True stereo versions - For The First Time Anywhere!! Created by Purple Chick

Volume Nine

1: The Paul Cohen Phone Call

- 28 February, 1957: Jerry Allison's Home, 2215 6th Street, Lubbock, Texas

2: Bill Randle WERE promo
3: Bill Randle WERE promo

- 30 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico

4: Don Passerby promo
5: Don Passerby promo
6: Don Passerby promo
7: Don Passerby promo

- 15 September, 1957: recorded at The Forum, Montreal, Canada for 1230 Cornwall Radio

8: Red Robinson promo
9: Red Robinson interview

- 23 October, 1957: recorded Georgia Auditorium, Vancouver, Canada for the for the "Teen Canteen" show

10: Freeman Hover interview
11: Freeman Hover promo

- 2 November, 1957: recorded at the Albany Hotel, Denver, Colorado for KCSR radio, Chadron, Nebraska

12: Dale Lowery interview

- 5 November, 1957: recorded at Municipal Auditorium, Topeka, Kansas for KTOP radio

13: Pat Barton interview

- 31 January, 1958: recorded Newcastle Stadium, Newcastle, Australia for Radio 2KO, Newcastle, AUS

14: Bob Chesney interview
15: Bob Chesney/WTRL promo

- 24 February, 1958: "Big Gold Record Stars Show", Dade County Auditorium, Miami, Florlda

16: KSYD Wichita Falls promo
17: Dick Arlen WACK promo

- unknown dates: unknown locations

18: Alan Freed interview

- 23 September, 1958 (broadcast 2 October, 1958) WNEW TV Studio, New York City, New York

19: Ronnie King interview

- 17 October, 1958: recorded at the Catholic Youth Center, Scranton, Pennsylvania for "Teen Time", WGH, 739 Boush, Norfolk, Virginia

20: Dick Clark interview

- 28 October, 1958: American Bandstand, WFIL Studios 46th & Market Streets, Philadelphia, Pennsylvania

21: Big Bopper Winter Dance Party promo
22: Ritchie Valens Winter Dance Party promo
23: Buddy Holly Winter Dance Party promo

- 1958/1959: unknown locations

24: Newscast about the plane crash
25: WNOE Newscast about the plane crash
26: Newscast about the plane crash
27: A Message To The Dutch Buddy Holly Fan Club From Ella And Lawrence Holley
28: Norman Petty Defends Himself

- unknown dates: unknown locations

29: Raining In My Heart (alternate stereo mix from 1959)
30: True Love Ways (alternate stereo mix from 1967)
31: It Doesn't Matter Anymore (alternate stereo mix from 1967)
32: What To Do (alternate stereo mix from 1967)
33: Learning The Game (alternate stereo mix from 1967)
34: Not Fade Away ('complete' alternate take with no backing vocals - outfake by Purple Chick)
35: Peggy Sue Got Married (Jack Hansen's overdubs in stereo for the first time - by Purple Chick)
36: Crying Waiting Hoping (Jack Hansen's overdubs in stereo for the first time - by Purple Chick)

- Various odds and ends that there wasn't room for on the other discs.

37: Wait Til The Sun Shines Nellie (Sterling-Von Tilzer) - Bing Crosby
38: Slippin' and Slidin (Penniman-Bocage-Collins-Smith) - Little Richard
39: Dearest (McDaniel-Polk-Baker) - Mickey and Sylvia
40: Love Is Strange (Smith-Baker) - Mickey and Sylvia
41: Smokey Joe's Cafe (Leiber-Stoller) - The Robins
42: Leave My Woman Alone (Charles) - Ray Charles

- (supposedly Buddy's Guitar from the Apartment Demos is based upon this)

Continued from Disc 10 - "Buddy's Record Collection"

Volume Ten

1: My Two Timin' Woman (Snow) - Hank Snow
2: I'll Just Pretend (Martin) - Flatt and Scruggs and the Stanley Brothers
3: Take These Shackles From My Heart (King-Stewart) - Pee Wee King
4: Footprints In The Snow (Jones) - Bill Monroe and his Bluegrass Boys
5: Baby, Let's Play House ((,Gunter) - Elvis Presley, Scotty and Bill
6: Blue Days, Black Nights (Hall) - Ben Hall, Weldon Myrick, Dena Hall
7: I Forgot To Remember To Forget (Kesler-Feathers) - Elvis Presley, Scotty and Bill
(the sole acetate of Buddy's version was scratched at Buddy's request to prevent its airplay competing with his first Decca single )
8: Ting A Ling (Nugetre) - The Clovers
9: Gone (Rogers) - Ferlin Husky
10: Have You Ever Been Lonely (De Rose-Brown) - Ernest Tubb
11: Brown-Eyed Handsome Man (Berry) - Chuck Berry
12: Good Rockin' Tonight (Brown) - Elvis Presley
13: Rip It Up (Marascalco-Blackwell) - Little Richard
14: Blue Monday (Bartholomew-Domino) - Fats Domino
15: Honky Tonk (Part 1) (Doggett-Shepard-Butler-Scott) - Bill Doggett
16: Blue Suede Shoes (Perkins) - Elvis Presley
17: Shake Rattle and Roll (Calhoun) - Elvis Presley
18: Bo Diddley (McDaniel) - Bo Diddley
19: Ain't Got No Home (Henry) - Clarence "Frogman" Henry
20: Ready Teddy (Blackwell-Marascalco) - Little Richard
21: Valley Of Tears (Domino-Bartholomew) - Fats Domino
22: All Of My Love (Oh Boy) (West-Tilghman) - Sonny West
23: Send Me Some Lovin' (Marascalco-Price) - Little Richard
24: It's Too Late (Willis) - Chuck Willis
25: An Empty Cup (Petty-Orbison) - Roy Orbison and the Teen Kings
26: (You're So Square) Baby I Don't Care (Leiber-Stoller) - Elvis Presley
27: Mona (McDaniel) - Bo Diddley
28: Rave On (West-Tilghman-Petty) - Sonny West
29: That's My Desire (Kresa-l.oveday) - Frankie Laine
30: Drown In My Own Tears ((Charles) - Ray Charles
31: Hallelujah! I Love Her So (Glover) - Ray Charles
32: Early In The Morning (Darin-Harris) - Bobby Darin
33: Now We're One (Darin) - Bobby Darin

 

DVD

1. Elvis comes to Lubbock*

- c. 10-26 April, 1956

2. That'll Be The Day (fragment)

- High Time - 22 October, 1957

3. Oklahoma City*

- c. 28-29 October, 1957

4. That'll Be The Day/Peggy Sue/Interview

- Ed Sullivan Show - 1 December, 1957

5. Peggy Sue

- Arthur Murray Dance Party - 29 December, 1957

6. Oh Boy

- Ed Sullivan Show - 26 January, 1958

7. Australia/UK tour*

- February/March, 1958

8. Oh Boy (montage)

- London Palladium - 2 March, 1958

9. Live In England*

- March, 1958

10. Maybe Baby (montage fragment)

- BBC TV - 14 March, 1958

11. Live In Michigan*

- 5 April, 1958

12. New bikes in Lubbock*

- c. May, 1958

13. Clear Lake

- 3 February, 1959

BONUS TRACKS
14. Peggy Sue (music video - alternate edit)

- Arthur Murray Dance Party - 29 December, 1957

15. That'll Be The Day (news report)

- High Time - 22 October, 1957

(* = home movie)

In honor of the life and legacy of the immortal Buddy Holly, I proudly offer to you all on his birthday Purple Chick's The Complete Buddy Holly from 2005. Spare a minute or two today to remember this great artist... enjoy, and as always, let me know what you think.

And somewhere deep
within his crypt,
what still remains
of youthful lips,
will bend for just
a little while,
in a long lost memory
of his smile.

---Special acknowledgement and thanks to the poet "Artis", courtesy of AllPoetry.com.

Please note that the music offering in this post has been retired, replaced by a new, improved and expanded Complete Buddy Holly Purple Chick set; go to this post to request a download of this replacement compilation.

The Beatles - Strong Before Our Birth (Purple Chick) (2-disc set)

Sixty years ago today, on a warm but cloudy Saturday afternoon at a church fair in a suburban town in the North of England, two teenage boys met for the first time . . . and the history of music was forever changed.

Yes, today is the diamond anniversary of the fabled first (well, perhaps not*) meeting of John Lennon and Paul McCartney at the St. Peter's Church garden fete in Woolton, Liverpool. I will refrain from retelling the oft-told tale of how the two famous musicians and songwriters came together that day - there will be plenty of stories in that vein today. So I'm going to keep this posting short.

However, I will call attention to one of these articles, which deserves recognition and merit - a write-up in today's Daily Beast about the momentous day, written by my good friend and Beatles fanatic Colin Fleming, that's worth your time and attention.

To commemorate this momentous day, I proudly present to you the Beatles' Strong Before Our Birth Purple Chick two-disc set, compiling the best and most important existing recordings from the band's early years (1957 to 1962) (The non-Purple Chick bootleg Complete Home Recordings 1958-1962 contains a couple of different tracks: mostly long, meandering 15-20 minute guitar noodlings of limited import and interest). This set contains mostly recordings of practices and jam sessions held at McCartney's bedroom at his family home, 20 Forthlin Road in Liverpool, along with some early Cavern Club recordings and 1958's "In Spite Of All The Danger", the pre-Beatles first professionally recorded original song.

These discs also include fragments of selections played by The Quarrymen on the very night of John and Paul's meeting - as fate would have it, one of Lennon's schoolmates, Bob Molyneux, was on hand with his new Grundig reel-to-reel machine, making recordings of all the bands playing that night's Grand Dance. Molyneux ended up with several reels of taped music, which he stored away and all but forgot about until decades later. By that time, many of his tapes had gone missing or were destroyed, victims of house moves and time. But luckily, the one surviving reel he salvaged was the one containing the first recordings of John Lennon performing in public. It's not the highest fidelity recording, but it's unmistakably John's voice.

Here's the track listing for both discs:

Anyway, here you are - check it out, and let me know what you think. Happy Beatles Day!

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Send Email

* In Beatles expert Mark Lewisohn's recently published bio of the band's early years, The Beatles: All These Years, Volume One – Tune In, he mentions that on numerous occasions in recent years, McCartney has spoken of seeing Lennon in and around Liverpool several times prior to 1957 - riding on buses with him and the two crossing paths while Paul was on his paper route. McCartney even mentions speaking with him once or twice during those years, in front of local shops. But as there are no independent eyewitness accounts of these encounters, nor any definitive dates or times when they occurred, we'll stick with July 6th, 1957 as Day One.

The Beatles - Sgt. Pepper's Lonely Hearts Club Band (Purple Chick) (6-disc set) (RS500 - #1)

Fifty years . . . wow.

What is widely considered to be the greatest rock album of all time was released half a century ago today.  That length of time is truly hard to fathom.  This album is still as fresh and vital as the day it came out.

What else can I say about this album that hasn't already been said, or will be said on its golden anniversary today? Nothing . . . so why continue to elaborate, and/or belabor the point?

Thus, here you are - the six-disc version of The Beatles' Sgt. Pepper's Lonely Hearts Club Band, collected, compiled and remastered by the good people at Purple Chick back in 2007. Here's the complete track lineup, in case you're interested:

Don't squander your hard-earned coin on the latest loudly-trumpeted "50th Anniversary Deluxe Rerelease - in glorious 5.1 sound!" - who gives a crap? The good stuff is all right here, and at no charge!

Enjoy, and as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Send Email

(and yep - I'm back (kinda . . .) - frankly, I've always been here, and never left.)

The Beatles - Please Please Me (Purple Chick) (2-disc set)

R.I.P. to British musician Andrew White, who died on Monday, November 9th at the age of 85. Beatles aficionados know of Andy White as one of many "Fifth Beatles", although his claim to that title is more secure than other would-be pretenders: he was the session drummer who infamously was called in to replace Ringo Starr on the kit during the recording of The Beatles' first single, "Love Me Do".

White began drumming literally before most of The Beatles were even born, and by the mid-1940s, before George Harrison had started primary school, he was working as a professional session drummer. In the late 1950s, he formed a big-band outfit that was good enough to take across the Atlantic; his group toured the Eastern Seaboard of the U.S., sharing bills with early American rockers like Bill Haley and Chuck Berry. Quickly seeing where the future lay, White abandoned his big band shortly

thereafter, and more and more began working with members of the nascent British rock scene. In 1960, he served as drummer for Billy Fury on his debut album, The Sound of Fury, credited as the first authentic English rock 'n' roll album. By the early '60s, White knew both his craft and his way around the rock genre.

The Beatles, recently signed by Parlophone, went into EMI Studios in London in early September, 1962 to record sides for their debut single, scheduled for release later that fall. The band had prepared six songs for eventual selection as A/B sides, including "Love Me Do", "Please Please Me", and a lightweight Adam Faith-penned song called "How Do You Do It?" (a hit the following year for Gerry & The Pacemakers). At that point, the band's producer George Martin had little confidence is his new charges' songwriting abilities, and for that reason was pushing for "How Do You Do It?" as the debut A-side. But Martin began showing interest in "Love Me Do", mainly due to the wailing harmonica played by John Lennon, a sound that had featured on several British hits that year, including Bruce Channel's "Hey Baby" and Frank Ifield's "I Remember You". After recording both songs, and after much deliberation, the decision was made on September 4th for "Love Me Do" to be the lead single.

However, Martin was dissatisfied with Starr's drumming on the September 4th recording, considering it to be not as "tight" as he would prefer. A rerecording session was scheduled for a week later; Martin was going to be absent from the studio, so assistant producer Ron Richards was placed in charge of the session for that day. The weekend prior to the session, acting on Martin's orders, Richards quietly contacted Andy White and requested that he attend the upcoming Beatles session (George Martin had used White as a session musician several previous times in the early 1960s, and was thoroughly familiar with his style and professionalism).

So Ringo and the band were taken by surprise when, on September 11th, they arrived at EMI to find White behind the drum kit. But Starr took it like a man; as Richards recalled later: "He just sat there quietly in the control box next to me . . . Ringo is lovely—always easy going" [Richards' memory was in error - during the recording, Ringo was out on the floor with the band, but was relegated to playing the tambourine].

Though he appeared to hide it well, needless to say Ringo WAS disappointed, recalling later:

"On my first visit in September we just ran through some tracks for George Martin. We even did "Please Please Me". I remember that, because while we were recording it I was playing the bass drum with a maraca in one hand and a tambourine in the other. I think it's because of that that George Martin used Andy White, the 'professional', when we went down a week later to record "Love Me Do". The guy was previously booked, anyway, because of Pete Best [the band, with Best on drums, had recorded a version of the song during their EMI Artist Test session earlier that year in June that Martin was also dissatisfied with]. George didn't want to take any more chances and I was caught in the middle. I was devastated that George Martin had his doubts about me. I came down ready to roll and heard, 'We've got a professional drummer.' He has apologised several times since, has old George, but it was devastating — I hated the bugger for years; I still don't let him off the hook!"

With the Andy White version of "Love Me Do" in the can, work then immediately commenced on the B-side, "P.S. I Love You". White also drummed on that, with Ringo again playing a backup role, shaking maracas in the background.

The version of "Love Me Do" with Starr on drums was used on the early British pressings of the single, released on October 5th, 1962. But the version with White on drums was used on the first American pressings of the single (released on April 27th, 1964), all later releases of the single, and on the Beatles' debut British album, Please Please Me, in 1963.

Most of The Beatles' subsequent albums that included the song used the White version (a simple way to distinguish between the two is that White's version features Starr on tambourine; there is no tambourine on Starr's version).

For his labors at the studio that day, Andy White received a grand total of 10 pounds as payment, plus an extra 50 pence for bringing his drum kit. He received no royalties from, nor credit on, the recording. It was the first and last time White ever worked with the band, but it was enough to get him in the history books as the first "fifth Beatle" whose contributions made it onto an official recording during the band's active life.

White remained a session drummer for the remainder of his career, playing with the likes of Herman's Hermits and Anthony Newley. He did participate on other hit records, most notably drumming on Tom Jones' 1965 smash "It's Not Unusual". He ended up on the cabaret and backing band circuit until his retirement in 1975. In the late 1980s he moved to the U.S.; he married and settled in New Jersey, where he lived until his death, teaching music and working for regional pipe band associations.

In commemoration of Andy White's life and the small but important contribution he made to the early Beatles' sound and subsequent legend, I proudly offer Please Please Me (Deluxe Version), compiled by the good people at Purple Chick in 2006. This two-disc set includes mono and stereo versions of songs on the album, along with various takes of selected tunes. As an added bonus, I've included both the Ringo version of "Love Me Do" and the Pete Best version as well. The latter went missing for years and was assumed lost, but was tracked down in the EMI archives and included in the 1995 Anthology 1 set. See if you can spot the differences in each of the three versions!

Enjoy, and as always, let me know what you think. And on behalf of the band (including Ringo) and Beatles fans the world over, let me say thank you once again, Mr. White.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Send Email